Budget constraints and space considerations in musical theatre pit orchestras led bandleaders to pressure fewer percussionists to cover more percussion parts. Metal consoles were developed to hold Chinese tom-toms, with swing-out stands for snare drums and cymbals. On top of the console was a "contraption" tray (shortened to "trap"), used to hold items like whistles, klaxons, and cowbells, so these drums/kits were dubbed "trap kits". Hi-hat stands became available around 1926.[9]
At Sam Ash we understand that the needs of drummers and percussionists extend well beyond the needs of other musicians. The Sam Ash drum department reflects that. We don't just have a huge selection of drum sets – with or without hardware - and the latest electronic kits and cymbals, we have all the bells and whistles (and cowbells and egg shakers and didgeridoos and the myriad items that enhance and customize the experience of drums and percussion) and accessories that make drumming exciting.
Kawai’s exceptional line of digital pianos is the result of a never-ending effort to create the world’s most authentic and innovative digital pianos. Relying on our rich experience in building fine acoustic pianos, Kawai builds digital pianos that offer the finest touch and tone available. Wooden-key actions, Harmonic Imaging sound technology, USB digital audio and the unique Soundboard Speaker System are just a few of the innovations found in our digital pianos and keyboards.

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An acoustic piano produces reverberation in its soundboard and in the room where it is played. Digital pianos often have a feature to electronically simulate reverberation as well. Other digital pianos may have additional reverberation options such as a "stage simulation." Some also have chorus, tremolo, and phaser effects, all of which are generated by digital signal processing.
Prior to the development of the drum set, drums and cymbals used in military and orchestral music settings were played separately by different percussionists; if the score called for bass drum, triangle and cymbals, three percussionists would be hired to play these three instruments. In the 1840s, percussionists began to experiment with foot pedals as a way to enable them to play more than one instrument, but these devices would not be mass-produced for another 75 years. By the 1860s, percussionists started combining multiple drums into a set. The bass drum, snare drum, cymbals, and other percussion instruments were all struck with hand-held drum sticks. Drummers in musical theater shows and stage shows, where the budget for pit orchestras was often limited, contributed to the creation of the drum set by developing techniques and devices that would enable them to cover the roles of multiple percussionists.

If you really want to distinguish yourself as a bassist, it can pay to think outside the box and go for something a bit less traditional. For example, there are musical styles and occasions where an electric bass may be slightly out of place. In those cases, you can turn to an acoustic-electric bass. These have a classic sound all their own, and if you're headed to a festival or singing around a campfire, they'll do the job even without an amplifier handy.
The "Fender Bass" was a revolutionary new instrument for gigging musicians. In comparison with the large, heavy upright bass, which had been the main bass instrument in popular music, folk and country music from the early 1900s to the 1940s, the Fender bass could be easily transported to shows. The bass guitar was also less prone to unwanted feedback sounds when amplified, than acoustic bass instruments.[11] In 1953 Monk Montgomery became the first bass player to tour with the Fender bass guitar, in Lionel Hampton's postwar big band.[12] Montgomery was also possibly the first to record with the bass guitar, on 2 July 1953 with The Art Farmer Septet.[13] Roy Johnson (with Lionel Hampton), and Shifty Henry (with Louis Jordan & His Tympany Five), were other early Fender bass pioneers.[10] Bill Black, playing with Elvis Presley, switched from upright bass to the Fender Precision Bass around 1957.[14] The bass guitar was intended to appeal to guitarists as well as upright bass players, and many early pioneers of the instrument, such as Carol Kaye and Joe Osborn, were originally guitarists.[15]
The standard design for the electric bass guitar has four strings, tuned E, A, D and G,[32] in fourths such that the open highest string, G, is an eleventh (an octave and a fourth) below middle C, making the tuning of all four strings the same as that of the double bass (E1–A1–D2–G2). This tuning is also the same as the standard tuning on the lower-pitched four strings on a six-string guitar, only an octave lower.
In the early 1940s, many jazz musicians, especially African American jazz musicians, started to stray from the popular big band dance music of the 1930s. Their experimentation and quest for deeper expression and freedom on the instrument led to the birth of a new style of music based from Harlem called bebop music. Whereas swing was a popular music designed for dancing, bebop was a "musician's music" designed for listening. During the bebop era, given that bands no longer had to accompany dancers, bandleaders could speed up the tempo. Bebop was also much more based on improvisation, in comparison to the heavily arranged big band scores. Bebop musicians would take an old standard and re-write the melody, add more complex chord changes, resulting in a new composition.

The placement of the pickup greatly affects the sound, timbre and tone of the instrument. A pickup near the neck joint emphasizes the fundamental and low-order harmonics and thus produces a deeper, bassier sound, while a pickup near the bridge emphasizes higher-order harmonics and makes a "tighter" or "sharper" sound. Usually basses with multiple pickups allow blending of the output from the pickups, with electrical and acoustical interactions between the two pickups (such as partial phase cancellations) allowing a range of tonal and timbral effects.
The shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western musical tradition, the most usual shape is a cylinder, although timpani, for example, use bowl-shaped shells.[1] Other shapes include a frame design (tar, Bodhrán), truncated cones (bongo drums, Ashiko), goblet shaped (djembe), and joined truncated cones (talking drum).
Keyboards, on the other hand, were designed to produce a much wider range of sounds than traditional pianos. Though they are sometimes good options for beginners, the range of available features on a keyboard make them more appropriate for intermediate to advanced musicians who are interested and capable of developing their own sound. It’s uncommon for such musicians to use a keyboard to create the same sounds that a traditional piano would make. Keyboards are usually much lighter than digital pianos, and they often do not have weighted keys. In short, keyboards are designed to be used by musicians and producers with more experience. Keyboards are often much lighter than digital pianos and have tones which number in the hundreds and sometimes thousands. They include a lot of technical options to allow the player to fully customize their sound.
However, with the technological advances, recent digital pianos are mostly capable of recreating string resonances, reverberations and other acoustical effects via digital signal processing (DSP) and modeling technology. One example is the Casio Privia, which is able to generate such acoustical effects by means of a simple DSP, which is far less complex than physical modeling.

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Composers using electric bass include Christian Wolff (Electric Spring 1, 1966; Electric Spring 2, 1966/70; Electric Spring 3, 1967; and Untitled, 1996); Francis Thorne (Liebesrock 1968–69); Krzysztof Penderecki (Cello Concerto no. 1, 1966/67, rev. 1971/72; Capriccio for Violin and Orchestra, 1967); The Devils of Loudun, 1969; Kosmogonia, 1970; and Partita, 1971); Louis Andriessen (Spektakel, 1970; De Staat, 1972–1976; Hoketus, 1976; De Tijd, 1980–81; and De Materie, 1984–1988); Pelle Gudmundsen-Holmgreen (Symfoni på Rygmarven, 1966; Rerepriser, 1967; and Piece by Piece, 1968); and Irwin Bazelon (Churchill Downs, 1970).
The digital piano is a specific kind of electronic keyboard that acts as a compact and lightweight alternative to a standard piano. Today's digital pianos feature hammer action keys (88-key being the norm) to emulate the sound and playability of their acoustic counterparts very accurately; some models can even replicate the sound of a pipe organ, Hammond organ and harpsichord. They have many other advantages as well: digital pianos are more affordable, their volume can be controlled and they never have to be tuned. Most digital pianos even have a headphone option for musicians who live in apartments where volume might be an issue. Because of these many benefits, digital pianos are often preferred over acoustic pianos by music educators and their pupils - this includes for amateur performances and school recitals.
Jump up ^ Tunings such as B–E–A–D (this requires a low "B" string in addition to the other three "standard" strings, and omits the G string), D–A–D–G (a "standard" set of strings, with only the lowest string detuned from E down to D), and D–G–C–F or C–G–C–F (a "standard" set of strings, all of which are detuned either a whole tone, or a whole tone for the three higher-pitched strings and two tones for the E, which is dropped to a low C) give bassists an extended lower range. A tenor bass tuning of A–D–G–C, in which the low E is omitted and a high C is added, provides a higher range.
Chords are not used that often by electric bass players. However, in some styles, bassists may sound "double stops", such as octaves with open strings and powerchords. In Latin music, double stops with fifths are used.[59] Robert Trujillo of Metallica is known for playing "massive chords" [60] and "chord-based harmonics" [61] on the bass. Lemmy of Motörhead often played power chords in his bass lines.
A digital piano is a type of electronic keyboard designed to serve primarily as an alternative to the traditional piano, both in the way it feels to play and in the sound produced. It is intended to provide an accurate simulation of an acoustic piano. Some digital pianos are also designed to look like an ordinary piano, both the upright or grand piano. Digital pianos use either a synthesized emulation or samples of an actual piano, which are then amplified through an internal loudspeaker. Digital pianos incorporate weighted keys, which recreate the feel of an acoustic piano.
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